0:00:05 > 0:00:08Innovation and invention.
0:00:08 > 0:00:11Geography and geology. Strength and solidarity.
0:00:11 > 0:00:14Just a few of the reasons why this city has such a hugely
0:00:14 > 0:00:19impressive claim as the first industrial city in the world,
0:00:19 > 0:00:22and its name is Manchester. Welcome to Flog It!
0:00:43 > 0:00:48Cotton - a soft, fluffy fibre, but one strong enough to build a city.
0:00:51 > 0:00:55Manchester's association with cotton began in the home in the 17th century,
0:00:55 > 0:00:58but within 100 years of industrialisation,
0:00:58 > 0:01:03Manchester went from being a small insignificant market town
0:01:03 > 0:01:06to a booming centre of textile production.
0:01:06 > 0:01:08A cottonopolis to be exact.
0:01:10 > 0:01:13And later on in the show we'll be finding out how and why Manchester
0:01:13 > 0:01:17beat the rest of the world to become the first industrial city.
0:01:17 > 0:01:19But first we've got some industrious action of our own.
0:01:19 > 0:01:22Our experts have to find the best antiques here in this queue
0:01:22 > 0:01:23and whisk them off to auction.
0:01:23 > 0:01:26And what better place to hold an evaluation day than
0:01:26 > 0:01:30Manchester's very own Museum of Science and Industry.
0:01:30 > 0:01:33So who will be the engineers of today's programme?
0:01:34 > 0:01:38Oh, yay! Oh, yay! Oh, yay!
0:01:38 > 0:01:42Anita and Michael are the experts on Flog It!
0:01:42 > 0:01:44Yay!
0:01:44 > 0:01:48But it's people and antiques that are the fuel for our fire.
0:01:48 > 0:01:49Just look at this!
0:01:49 > 0:01:53It's not even 9:30 and hundreds of people from all over Manchester
0:01:53 > 0:01:56have turned up laden with unwanted antiques and collectables,
0:01:56 > 0:01:59all hoping they're one of the lucky ones hoping to go through to
0:01:59 > 0:02:02the auction later on in the show and go home with a small fortune.
0:02:02 > 0:02:04Well, I think it's time we got the doors open, don't you?
0:02:04 > 0:02:07- Are you ready to go in, everyone? - ALL: Yes!
0:02:07 > 0:02:08Stewards, open the door!
0:02:13 > 0:02:17The Museum of Science and Industry, or MOSI as it's known,
0:02:17 > 0:02:21charts Manchester's integral role in the Industrial Revolution.
0:02:21 > 0:02:23The machines might be large,
0:02:23 > 0:02:27but the stars of our show are a little smaller and refined.
0:02:28 > 0:02:31Two stunning examples of Scandinavian jewellery
0:02:31 > 0:02:35go under the hammer, but can you predict which makes the most cash?
0:02:35 > 0:02:41And I find some local art that illustrates industrial Manchester with exquisite simplicity.
0:02:41 > 0:02:43I absolutely love this.
0:02:43 > 0:02:47This is what it's all about. This is why we're here in Manchester.
0:02:49 > 0:02:52Well, this is where the wheels of industry keep on turning.
0:02:52 > 0:02:55Everybody is now safely seated inside, so let's get in with it.
0:02:55 > 0:02:58Michael Baggott is our first expert to the tables.
0:02:59 > 0:03:03Diane, thank you for bringing this lovely casing today.
0:03:03 > 0:03:05Where did it come from?
0:03:05 > 0:03:08It was given to me in the late '60s
0:03:08 > 0:03:11when I lived here before I moved to Australia.
0:03:11 > 0:03:13Exactly how far have you come today?
0:03:16 > 0:03:19I've only come locally today, but last week I came from Australia.
0:03:19 > 0:03:23So you had to plan packing this in the luggage?
0:03:23 > 0:03:26Yes, I really wanted to bring something bigger,
0:03:26 > 0:03:28but it meant taking out a pair of shoes, and that wasn't on,
0:03:28 > 0:03:31so I found this cos it was smaller.
0:03:31 > 0:03:35- Small is beautiful, isn't it? - Definitely.- So did you watch Flog It!
0:03:35 > 0:03:38- in Australia?- Every day.- I didn't realise we were international.
0:03:38 > 0:03:42- Oh, absolutely. Two o'clock everyday. - Oh, how luxurious.- Yes.
0:03:42 > 0:03:44Well, thank you for flying over.
0:03:44 > 0:03:46I hope it's going to be worth it.
0:03:46 > 0:03:49- I can't guarantee. Well, you've had a holiday as well.- Oh, yes.
0:03:49 > 0:03:52I'm here for my father's 95th birthday.
0:03:52 > 0:03:55- Marvellous. - So it's all just tied in nicely.
0:03:55 > 0:03:58- Do you know where this comes from? - No, I thought it was plastic.
0:03:58 > 0:04:00- It's got a plastic feel to it. - Definitely.
0:04:00 > 0:04:04But what we've got is a calling card case.
0:04:04 > 0:04:06So this would be...
0:04:06 > 0:04:07If you went round,
0:04:07 > 0:04:10you'd keep your cards in there and you'd leave a card
0:04:10 > 0:04:15and it was a whole thing to do with it, but this is Anglo-Indian.
0:04:15 > 0:04:18So it's Indian made for the British market.
0:04:18 > 0:04:21It's got a sandalwood interior and we've got ebony
0:04:21 > 0:04:24and I think we've got bone fitted all around it
0:04:24 > 0:04:28and this would have been carved sometime in about...
0:04:28 > 0:04:33It's difficult to be precise, but let's say 1870 up to about 1890.
0:04:33 > 0:04:38- Oh, really? - So it's a good 120, 130 years old.
0:04:38 > 0:04:42And it's got all this beautiful incised decoration.
0:04:42 > 0:04:44And of course when that's done you can't really see it,
0:04:44 > 0:04:47so then they black it in
0:04:47 > 0:04:50with ink and polish it off. It's lovely.
0:04:50 > 0:04:56- We've got a little deity there doing something...- I'm not sure about him.
0:04:56 > 0:04:59I think he's trying to achieve the lotus position.
0:05:00 > 0:05:02And enlightenment and wisdom.
0:05:02 > 0:05:06The only thing we've got is little bits of damage.
0:05:06 > 0:05:09But I mean, it's come from Australia for goodness' sake!
0:05:10 > 0:05:12Right. Oh, crikey.
0:05:12 > 0:05:15Well, I'm glad you came over for your father's 95th
0:05:15 > 0:05:18and not to make a profit on Flog It!
0:05:18 > 0:05:21- otherwise I think we'll be in negative equity.- Oh, right.
0:05:21 > 0:05:27- I think we could say conservatively...- Yes.- £50 to £80. - OK.
0:05:27 > 0:05:31And put a £50 fixed reserve on it. Would that be all right?
0:05:31 > 0:05:32Yes, that would be lovely.
0:05:32 > 0:05:35And will you be there at the auction?
0:05:35 > 0:05:40Well, it cost me 75 to change my flight, so it'll pay for that,
0:05:40 > 0:05:43- so yes. - So if we were under the 75 mark,
0:05:43 > 0:05:45you wouldn't have made it to the auction?
0:05:45 > 0:05:47- No.- No, we'll cover it. - Somebody has to buy it.
0:05:47 > 0:05:50Well, let's hope that the gods are with us on the day.
0:05:50 > 0:05:52Diane, it has been a privilege to meet you.
0:05:52 > 0:05:55- Thank you so much for bringing this. - Thank you. It's been lovely.
0:06:05 > 0:06:09- Mariel, I can see you're a woman of style.- Oh, thank you.
0:06:09 > 0:06:13And a woman of style would wear this type of jewellery.
0:06:13 > 0:06:15Tell me where you got them.
0:06:15 > 0:06:19A present from my husband about 35 years ago.
0:06:19 > 0:06:23And I did wear them at first, but I haven't worn them for a while.
0:06:23 > 0:06:26- Did you like them when you got them?- Very much.
0:06:26 > 0:06:31- Do you know who made this jewellery? - Georg Jensen.- That's right.
0:06:31 > 0:06:35And you've got a smile on your face where you say those two magic words.
0:06:35 > 0:06:39Georg Jensen was one of the most prestigious silversmiths
0:06:39 > 0:06:43and silver designers of the 20th century.
0:06:43 > 0:06:47Danish, he lived in Copenhagen, he died in 1935,
0:06:47 > 0:06:51but they are still making Georg Jensen jewellery.
0:06:51 > 0:06:57- And these particular pieces were made in 1971.- Right.
0:06:57 > 0:07:02But they still have that same quality that were his trademarks
0:07:02 > 0:07:05- when he was actually making the pieces.- Right, interesting.
0:07:05 > 0:07:08- Yes.- I mean, what can you say about them?
0:07:08 > 0:07:11The simplicity of them is absolutely wonderful.
0:07:11 > 0:07:14- You don't wear them any more? - No, I don't.
0:07:14 > 0:07:18- The earrings look a wee bit fiddly. - They can be.
0:07:18 > 0:07:21They do stay on, but they can be fiddly.
0:07:21 > 0:07:25- Now, tell me, it was a present from your husband...- Yes.
0:07:25 > 0:07:28- What would he think about you selling them?- He's fine.
0:07:28 > 0:07:32They're mine. He said, "If you want to sell them, go ahead."
0:07:32 > 0:07:36And this type of thing is very popular just now.
0:07:36 > 0:07:40It fits in with our the modern aesthetic,
0:07:40 > 0:07:45the simplicity that many young people look for in their design.
0:07:45 > 0:07:49So these will be well fancied in the sale room.
0:07:49 > 0:07:51- Good.- Price...
0:07:52 > 0:07:53I would put probably...
0:07:55 > 0:08:03..120 to 150, in that region. Would you be happy to sell them at that?
0:08:03 > 0:08:05Yes.
0:08:05 > 0:08:09- If that's what you think.- Yep. do you want me to put a reserve on them?
0:08:09 > 0:08:12- Well, do you think 120 on the reserve?- Yeah.
0:08:12 > 0:08:15But let's use a little bit of discretion.
0:08:15 > 0:08:18- OK, if you think so.- Let's hope they do very well indeed.- Thank you.
0:08:18 > 0:08:20Thank you for bringing them in.
0:08:22 > 0:08:26Now we've seen a lot of Georg Jensen silver on the show over the years.
0:08:28 > 0:08:29From a modest brooch...
0:08:29 > 0:08:32The hammer's gone down. £190. That was the top bid.
0:08:36 > 0:08:40..to a beautiful silver tea set that was valued at £800 to £1,200.
0:08:40 > 0:08:44And it sold for a whopping £5,000.
0:08:44 > 0:08:46- Goosepimples.- Good gracious me.
0:08:47 > 0:08:52Denmark's Georg Jensen led a wave of 20th century silversmiths
0:08:52 > 0:08:57who created simple geometric designs in the very finest quality.
0:08:57 > 0:08:59He inspired a generation of makers
0:08:59 > 0:09:03and pieces by lesser known designers are now attracting attention in
0:09:03 > 0:09:07the sale room for their modern classic look.
0:09:07 > 0:09:09And Michael's found one such beauty.
0:09:12 > 0:09:15Beautiful necklace and bracelet set.
0:09:15 > 0:09:17Where did you get them from?
0:09:17 > 0:09:20They were given to me on my confirmation day.
0:09:20 > 0:09:22When was that, if you don't mind me asking?
0:09:22 > 0:09:25No. I was 14 and it was in 1961.
0:09:27 > 0:09:30I notice a slight accent. Where were you from originally?
0:09:30 > 0:09:33- Denmark.- Right.
0:09:33 > 0:09:37Cos this has got a very strong look of that Scandinavian school
0:09:37 > 0:09:40of jewellery that you find from the 1930s onwards.
0:09:40 > 0:09:42If we have a look...
0:09:42 > 0:09:45Obviously they're a pair, they're the same design,
0:09:45 > 0:09:47and we've got marks here.
0:09:47 > 0:09:51We just get a stamp, so we've got..."Sterling.
0:09:51 > 0:09:55"Denmark," and then we've got maker's name "NE From."
0:09:55 > 0:09:57Yes.
0:09:57 > 0:10:02And I think From is a name that we're not very familiar with over here.
0:10:02 > 0:10:05We always think of Jensen when we think of Danish silversmiths.
0:10:05 > 0:10:07Georg Jensen, yeah.
0:10:07 > 0:10:11But actually there was a whole school of silversmiths
0:10:11 > 0:10:15making these wonderful, very light, very modern designs.
0:10:15 > 0:10:18And to be honest, I've not come across From before.
0:10:18 > 0:10:21But he was obviously a very skilled silversmith
0:10:21 > 0:10:26and I would think it was made around the date of your confirmation.
0:10:26 > 0:10:29It have been two or three years old,
0:10:29 > 0:10:33but it's very much a late '50s, early '60s style of jewellery.
0:10:33 > 0:10:37- So this was a confirmation gift...? - It was.- ..whilst you were in Denmark?
0:10:37 > 0:10:40- Yes. - When did you come over to England?
0:10:40 > 0:10:44I came over here when I was 19 as an au pair girl.
0:10:44 > 0:10:47Was it that that decided you to settle in England?
0:10:47 > 0:10:52No. It's the usual story - I met a lovely young man and I fell in love.
0:10:52 > 0:10:59So I went home after the year as planned but I needed to come back,
0:10:59 > 0:11:04so came back in 1968 and that's when I settled.
0:11:04 > 0:11:08- Love will always find a way. - That's it. It will.- Marvellous.
0:11:08 > 0:11:12Well, the good news is we don't have to worry about bullion values,
0:11:12 > 0:11:14the value isn't in the metal.
0:11:14 > 0:11:18- Right.- It wouldn't matter if it was silver, copper or gold.
0:11:18 > 0:11:20It's all in the design.
0:11:20 > 0:11:24And that's really where the value of Scandinavian silver metalwork is.
0:11:24 > 0:11:28And this is so fashionable. And eminently wearable.
0:11:28 > 0:11:31As we were setting up, members of the crew would pass..."Oh!"
0:11:31 > 0:11:36I think Anita even strained over my shoulder and had a look.
0:11:36 > 0:11:40It's a beautiful set. I think it's very commercial
0:11:40 > 0:11:43and we should put it into auction at £200 to £300.
0:11:43 > 0:11:46- That's fantastic. - And a fixed reserve of £200.
0:11:46 > 0:11:49So if you're happy, we'll put it into the auction at that
0:11:49 > 0:11:51and see where it ends up.
0:11:51 > 0:11:53Yes, I think that's very nice. Thank you.
0:11:53 > 0:11:55That's marvellous. Thank you so much for coming in.
0:11:56 > 0:12:01So, can a little no name From match up to the famous Georg Jensen?
0:12:01 > 0:12:03Find out in a few moments.
0:12:03 > 0:12:05This is every school boy's dream, isn't it?
0:12:05 > 0:12:10To come here and look at this. Moving parts, mechanical objects.
0:12:10 > 0:12:14This was the Industrial Revolution working at full tilt,
0:12:14 > 0:12:16driving their country forward.
0:12:16 > 0:12:18Look at the guys watching.
0:12:18 > 0:12:20They're all little boys that haven't grown up
0:12:20 > 0:12:22still fascinated as ever.
0:12:26 > 0:12:28So that's it for our first half,
0:12:28 > 0:12:30it's off to auction with our stock of silver.
0:12:32 > 0:12:34Anita's put £120 to £150 on
0:12:34 > 0:12:38the classic Georg Jensen design.
0:12:38 > 0:12:40But Michael's valued the lesser known
0:12:40 > 0:12:44but larger From set at £200 to £300.
0:12:44 > 0:12:47Who will be nearest on the money?
0:12:47 > 0:12:50And lest we forget, jolly Diane who was so keen
0:12:50 > 0:12:54to come to the auction she changed her flight to Australia.
0:12:54 > 0:12:56I hope there's some wizardry in the
0:12:56 > 0:12:58sale room to get her the best price.
0:12:59 > 0:13:03Our auction today comes from the pretty village of Knutsford
0:13:03 > 0:13:05where the cobbled steps lead to an old school hall
0:13:05 > 0:13:08filled with antiques and collectibles.
0:13:09 > 0:13:13It's Frank Marshall's auction house and on the rostrum are two men
0:13:13 > 0:13:18of exceptional hammer skills - Nick Hall and Peter Ashburner.
0:13:19 > 0:13:21Calling all bids right now.
0:13:21 > 0:13:24Going under the hammer we have an Anglo-Indian calling card case
0:13:24 > 0:13:28belonging to Diane who's just about to fly off to Australia.
0:13:28 > 0:13:31- Straight after the auction, aren't you?- I am, tomorrow.
0:13:31 > 0:13:34- You put the flight off, you were due to fly...- Yesterday.
0:13:34 > 0:13:36- I put it off until tomorrow. - So you could be here with us.
0:13:36 > 0:13:38Michael, how about that?
0:13:38 > 0:13:41I'm not sure I can handle this sort of pressure for evaluation.
0:13:41 > 0:13:45- What do you think, Michael?- I think it's small and it's postable.
0:13:46 > 0:13:49I think we should do £100, £120.
0:13:49 > 0:13:52Sticking my neck out there, but I have to, she delayed her flight.
0:13:52 > 0:13:54THEY LAUGH
0:13:54 > 0:13:56Right. Here we go. Let's put it under the hammer.
0:13:56 > 0:13:59Let's find out what it's worth.
0:13:59 > 0:14:03The late 19th century Anglo-Indian rectangular card case.
0:14:03 > 0:14:05Nice little collector's item. Good little lot.
0:14:05 > 0:14:08- A bit of interest as well. - There we go.- I have commission bids.
0:14:08 > 0:14:10I'm straight in here at 45.
0:14:10 > 0:14:13- 50. 55.- Diane, you got your money back.
0:14:13 > 0:14:15At 65, I'm in. Straight in at 65.
0:14:15 > 0:14:1770 with you, madam. Five against you.
0:14:17 > 0:14:19At 75. Try another. 80.
0:14:19 > 0:14:24Five. One more. 90. It's £90 in the room.
0:14:24 > 0:14:27- At 90 now. Five online.- There we go.
0:14:27 > 0:14:29At 95. Are you bidding, madam?
0:14:29 > 0:14:31Round it off to 100, mate.
0:14:31 > 0:14:32At £95.
0:14:32 > 0:14:36All done and sure? Last chance. 95. Selling away.
0:14:36 > 0:14:38We did it.
0:14:38 > 0:14:42- You did well.- Well done, Michael. - You're in profit.- Yay.
0:14:45 > 0:14:47Well, have a safe trip back to Australia.
0:14:47 > 0:14:50- Thank you for the experience. - Delighted. Delighted it did well.
0:14:50 > 0:14:53Diane has more than covered her costs
0:14:53 > 0:14:56and is clearly delighted she stayed for the ride.
0:14:56 > 0:15:01And now for the first in our battle of 20th century Danish jewellery.
0:15:01 > 0:15:04Will the classic Georg Jensen beat the lesser known From design?
0:15:04 > 0:15:07Mr Jensen is first to the sale.
0:15:08 > 0:15:11Over the years on this show we have seen so many people
0:15:11 > 0:15:15that just want Georg Jensen jewellery.
0:15:15 > 0:15:18I mean, it's the most wonderful thing you can come across.
0:15:18 > 0:15:20It's great 20th century design.
0:15:20 > 0:15:23And this is a nice little set. It's got its box, doesn't it?
0:15:23 > 0:15:26- It is. Yes, it's boxed. - Well, there you go.
0:15:26 > 0:15:29It's going under the hammer right now.
0:15:29 > 0:15:32The Georg Jensen silver brooch and matching clip earrings.
0:15:32 > 0:15:36Smart lot. Good classic designer. We're going to go. £100 for the lot.
0:15:36 > 0:15:39Surely for the Georg Jensen there. At £100. 80.
0:15:39 > 0:15:42The bid's in the room at 80.
0:15:42 > 0:15:45- Five anyone?- There's not many women in the room, is there?
0:15:45 > 0:15:4890. Still in? At £90.
0:15:48 > 0:15:51Any advance on 90? New bidder at five.
0:15:51 > 0:15:5295. 100.
0:15:52 > 0:15:55- They know a bit of Georg Jensen. - 120.
0:15:55 > 0:15:58120. 120. I'm bid by the fellow by the doorway.
0:15:58 > 0:16:00At £120. New bid at 130.
0:16:00 > 0:16:03130 now. 130 I bid on my right.
0:16:03 > 0:16:07- 140. Fresh bidder. - Someone online now or on the phone.
0:16:07 > 0:16:10- Two phones going now at 250. 260. - Great.
0:16:10 > 0:16:14Phones, bidders in the room and we've got the internet.
0:16:14 > 0:16:16160. 170.
0:16:17 > 0:16:19Still in? 180.
0:16:19 > 0:16:22Two phones - 180 and 190.
0:16:22 > 0:16:24200. At 200 I'm bid.
0:16:24 > 0:16:26200. 210.
0:16:26 > 0:16:28Ten now with Niall.
0:16:28 > 0:16:31Ten's the bid. Niall's phone at 210. At 210 with Niall
0:16:31 > 0:16:35on the phone. Selling away at £210.
0:16:35 > 0:16:37- Sold it.- Good.
0:16:37 > 0:16:40- It's gone.- Oh, yeah. - I'm pleased with that.
0:16:40 > 0:16:41A good result.
0:16:41 > 0:16:44Now you can buy yourself something you do like.
0:16:46 > 0:16:49The Jensen jewellery smashed the estimate.
0:16:49 > 0:16:50Could the From piece make more?
0:16:52 > 0:16:54- Good luck.- Thank you. - You're from Denmark
0:16:54 > 0:16:57- and we've got some Danish jewellery going under the hammer.- We have.
0:16:57 > 0:16:59- Yes, Paul.- I think this is quality, and it really is.
0:16:59 > 0:17:02You brought it to the right person. Michael's our silver expert.
0:17:02 > 0:17:05Delighted to see. It's got all of those Jensen lines
0:17:05 > 0:17:07but by a maker I haven't heard of before.
0:17:07 > 0:17:09But hopefully people online will have.
0:17:09 > 0:17:12OK. Let's find out what the bidders think right here, right now.
0:17:12 > 0:17:15It's going under the hammer. This is it.
0:17:15 > 0:17:19Danish silver necklace and bracelet set by Niels Erik From.
0:17:19 > 0:17:25Super quality designer piece. In silver. Start me where? £200 for it.
0:17:25 > 0:17:28Who's in at £200?
0:17:28 > 0:17:31150. 100. Start me somewhere. Where we going to go?
0:17:31 > 0:17:33At £100. 100 only.
0:17:33 > 0:17:39110. 120. 130. 130 now. You in at 140? 140 I'm bid.
0:17:39 > 0:17:42150 I'm holding. 160. 170.
0:17:42 > 0:17:45He's pointing to the phones, which is always a good sign.
0:17:45 > 0:17:48190. 190 now. 200.
0:17:48 > 0:17:50It's on the phone. At £200. Commissions are out.
0:17:50 > 0:17:54It's all on the phone. At 200. Nothing online?
0:17:54 > 0:17:57- Come on, where's all those Danish bids coming in?- Just a bit more.
0:17:57 > 0:17:59Nothing online. Room's gone quiet.
0:17:59 > 0:18:04At £200 on the phone I have. And will sell at 200.
0:18:04 > 0:18:08- It's gone. £200. That's OK. - That's fine.
0:18:08 > 0:18:11So there you have it, once again the big name wins out.
0:18:11 > 0:18:14But with only £10 difference between them
0:18:14 > 0:18:18it proves that lesser-known Danish designers are catching up fast.
0:18:18 > 0:18:20And all three of our ladies go home happy,
0:18:20 > 0:18:23one to the other side of the world.
0:18:23 > 0:18:28There you are, that's the end of our first visit to the auction room completed.
0:18:28 > 0:18:30So far so good, but don't go away because we're coming back here
0:18:30 > 0:18:34later on where I'm sure it's going to get really exciting.
0:18:34 > 0:18:36While we're here in the area filming I decided to head back to
0:18:36 > 0:18:41Manchester to find out how the city beat its neighbours becoming
0:18:41 > 0:18:44the leading light during the Industrial Revolution.
0:18:51 > 0:18:55The Industrial Revolution found its home in Manchester
0:18:55 > 0:18:59over 200 years ago and drove the city to become the first
0:18:59 > 0:19:02and the largest textile producer in the world.
0:19:08 > 0:19:13The story starts in a rural market town 16th century Manchester.
0:19:13 > 0:19:17Spinning and weaving sheep wool was a common occupation in the home
0:19:17 > 0:19:19and gave many families a livelihood.
0:19:22 > 0:19:25By the 17th century silk and cotton were being imported
0:19:25 > 0:19:28and the town's reputation for its textile production was growing.
0:19:31 > 0:19:34But how could a cottage industry produce the volume of goods
0:19:34 > 0:19:37needed to compete on a world stage?
0:19:37 > 0:19:41They needed speed, power and new ways of thinking.
0:19:42 > 0:19:46In the 18th century there was a lust for development.
0:19:46 > 0:19:49Engineers, scientists and laymen all strove to find new ways
0:19:49 > 0:19:52to work cotton and transform production.
0:19:53 > 0:19:57Men like Newcomen who invented the first steam engine for
0:19:57 > 0:20:01pumping water and John Kay, the creator of the flying shuttle,
0:20:01 > 0:20:05both key developments on the path to industrialisation.
0:20:05 > 0:20:09Steam power was emerging as a transformative tool,
0:20:09 > 0:20:13but it needed one important resource - coal.
0:20:13 > 0:20:16Coal had been transported from mine to city
0:20:16 > 0:20:18by horse and cart for many years.
0:20:18 > 0:20:20But as demand increased
0:20:20 > 0:20:23so did the need for a better system of delivery.
0:20:23 > 0:20:28In 1759, the third Duke of Bridgewater, Francis Egerton,
0:20:28 > 0:20:33built a canal from his mine in Worsley to Manchester.
0:20:33 > 0:20:37The coal was floated along water in canal boats.
0:20:37 > 0:20:40A much faster and therefore cheaper solution
0:20:40 > 0:20:42to an ever-increasing demand.
0:20:44 > 0:20:48Mills popped up on the waterways around Manchester.
0:20:48 > 0:20:52With power now easily available and technology in place to harness it,
0:20:52 > 0:20:57production could increase to previously unimaginable levels.
0:21:02 > 0:21:07In order to support this booming industry, workers were needed,
0:21:07 > 0:21:09and they came in their droves.
0:21:09 > 0:21:12In the space of just 30 years the population of Manchester
0:21:12 > 0:21:14more than doubled,
0:21:14 > 0:21:18all arriving to drive machines like this one, the spinning wheel,
0:21:18 > 0:21:21still in working order at the museum today.
0:21:24 > 0:21:27Carol, you're the perfect person to demonstrate these spinning machines
0:21:27 > 0:21:29working to the general public,
0:21:29 > 0:21:32because when you left school you went into the industry, didn't you?
0:21:32 > 0:21:36- You worked in a mill. - I did, yes. I started at 15.
0:21:36 > 0:21:38- I started sweeping the floor. - Working your way up.
0:21:38 > 0:21:42Yes, you started at the bottom and worked your way up,
0:21:42 > 0:21:44- being trained along the way. - Noisy environment.- Very noisy.
0:21:44 > 0:21:46Hot as well.
0:21:46 > 0:21:50Yes, you needed the humidity because otherwise the cotton would break.
0:21:50 > 0:21:53- So it was hot.- It's quite warm in here and nothing is working.
0:21:53 > 0:21:57- Yes, it is.- Can you start this up for me so I can see it?
0:21:57 > 0:21:59I certainly can. I'll put it on for you.
0:22:08 > 0:22:12A typical cotton mill would have 60 machines like this one
0:22:12 > 0:22:16each spinning over 1,000 reels of cotton at once.
0:22:16 > 0:22:17MACHINERY WHIRS
0:22:17 > 0:22:20That's quick, isn't it? Very quick.
0:22:22 > 0:22:25So, as an operator, you've got to stand back
0:22:25 > 0:22:29and watch all these bobbins to make sure nothing is loose on top.
0:22:29 > 0:22:30That's right.
0:22:40 > 0:22:42In the 1800, when these were working,
0:22:42 > 0:22:45working conditions were terrible.
0:22:45 > 0:22:48Depending on where you were in the factory, there was lots of dust,
0:22:48 > 0:22:53so you breathed that in, so diseases like byssinosis were rife.
0:22:53 > 0:22:57And another problem with these machines in the early days,
0:22:57 > 0:23:00they would use children to clean underneath them.
0:23:00 > 0:23:02Yeah, in and out, underneath.
0:23:02 > 0:23:06Well, the machine rolls forward and the children would crawl in the gap.
0:23:06 > 0:23:10Highly dangerous. Especially if this is going in and out.
0:23:10 > 0:23:12Very, yeah. There were lots of children killed
0:23:12 > 0:23:16and seriously injured by these machines. Children as young as five.
0:23:18 > 0:23:23And the exploitation of the workers didn't end at the factory gate.
0:23:23 > 0:23:25Although the economy was thriving,
0:23:25 > 0:23:30the living conditions for the working man sank to a new low.
0:23:30 > 0:23:32By the 1830s the situation was so desperate,
0:23:32 > 0:23:35a cholera epidemic broke out, killing thousands of people.
0:23:35 > 0:23:38Sanitation was virtually nonexistent
0:23:38 > 0:23:41and overcrowding so bad that in the Irish slum,
0:23:41 > 0:23:464,000 people lived in just 250 houses.
0:23:46 > 0:23:50Life expectancy was genetically lower in industrial Manchester
0:23:50 > 0:23:53than it was in its rural counterparts.
0:23:53 > 0:23:55And the squalid conditions of the working man
0:23:55 > 0:23:57brought international attention.
0:23:59 > 0:24:02Leading political thinker Friedrich Engels wrote a damning indictment
0:24:02 > 0:24:05of the conditions in Manchester,
0:24:05 > 0:24:08claiming workers were suffering greatly as a consequence.
0:24:08 > 0:24:11Nevertheless, by the 19th-century
0:24:11 > 0:24:14Manchester produced 82% of the world's cotton.
0:24:16 > 0:24:19But why Manchester and not London or Birmingham?
0:24:19 > 0:24:22Head of collections Jack Kirby, here at the museum,
0:24:22 > 0:24:23has got some answers.
0:24:25 > 0:24:28Manchester was the key city in the Industrial Revolution
0:24:28 > 0:24:31because it combined so many different factors.
0:24:31 > 0:24:34It had its location - it was close to the port in Liverpool,
0:24:34 > 0:24:39where the cotton came in from abroad and could then be exported out.
0:24:39 > 0:24:43It had the landscape, with water flowing through it,
0:24:43 > 0:24:46vital for the textile industry for bleaching and dyeing.
0:24:46 > 0:24:49And then the famous Manchester rain.
0:24:49 > 0:24:53The damp Pennine climate actually helped making cotton
0:24:53 > 0:24:56because it kept the cotton fibres together.
0:24:56 > 0:24:59So there were all these different factors
0:24:59 > 0:25:01and that meant that Manchester, more than any other city,
0:25:01 > 0:25:03embodied the Industrial Revolution.
0:25:03 > 0:25:06It was the shock city of the Industrial Revolution.
0:25:10 > 0:25:14Industrial Manchester continued to grow throughout the early part
0:25:14 > 0:25:16of the 19th century.
0:25:16 > 0:25:19But as with so many booms, a bust was soon to follow.
0:25:19 > 0:25:23The two world wars of the 20th century kept the factories busy,
0:25:23 > 0:25:27but with increasing competition from abroad that could not be fought off.
0:25:27 > 0:25:32The bright lights of the textile industry plummeted into darkness.
0:25:36 > 0:25:40Manchester may no longer be an industrial stronghold,
0:25:40 > 0:25:44but it played a hugely significant role in the progress of the country
0:25:44 > 0:25:48and led us to the most important age of our modern history.
0:25:48 > 0:25:52A legacy that should never be forgotten.
0:25:56 > 0:25:58Back at our valuation day at MOSI,
0:25:58 > 0:26:01Anita has found a piece of industrial history of her own.
0:26:03 > 0:26:06Derek, it's wonderful to be in Manchester
0:26:06 > 0:26:09and it's wonderful to have a local item.
0:26:09 > 0:26:12- Yes.- It's a Pilkington plaque.
0:26:12 > 0:26:15That wonderful factory in Greater Manchester.
0:26:15 > 0:26:19But tell me what your connection with Pilkington is.
0:26:19 > 0:26:22Well, both my mum and dad worked there.
0:26:22 > 0:26:27- In fact, I worked there myself for about three years.- What did you do?
0:26:27 > 0:26:31I took tiles across the factory on a truck with one wheel
0:26:31 > 0:26:35at the front, ready for going into the kilns.
0:26:35 > 0:26:37They were all separated.
0:26:37 > 0:26:40And you'd be going down the yard and you'd go down a bump and crash -
0:26:40 > 0:26:43half of them fell off onto the floor.
0:26:43 > 0:26:44SHE LAUGHS
0:26:44 > 0:26:46You had to go and get a brush and shovel 'em up!
0:26:46 > 0:26:49- Was that deducted from your wages? - Oh, no. No.
0:26:51 > 0:26:55- So, I mean, it's so sad that Pilkington no longer exists.- No.
0:26:55 > 0:26:57No, it's gone.
0:26:57 > 0:27:00When you think of the wonderful things that were made there.
0:27:00 > 0:27:05Let's look at this plaque. When I think of Pilkington,
0:27:05 > 0:27:09I think of these wonderful lustre pieces that they made,
0:27:09 > 0:27:13and these things command extraordinary prices in the salerooms.
0:27:13 > 0:27:17This is quite a different type of thing.
0:27:17 > 0:27:22It's a plaque which commemorates the coronation of King George,
0:27:22 > 0:27:25and it was made in 1937.
0:27:25 > 0:27:28Can we turn it round and have a wee look at the back
0:27:28 > 0:27:33because it's interesting in that it was an edition of 250.
0:27:33 > 0:27:40- That is quite a limited edition. - Yes.- And this is plaque number 55.
0:27:40 > 0:27:45- I see an artist's monogram here. Do you know who this was?- Yes.
0:27:45 > 0:27:49- William Mycroft. - So he made these 250?
0:27:49 > 0:27:51I've got a picture of him.
0:27:52 > 0:27:58- Isn't that absolutely wonderful? So this is the artist at work.- Yes.
0:27:58 > 0:28:03- And this is him making one of these commemorative plaques.- Yes.
0:28:03 > 0:28:05- That's a wee piece of Manchester history.- Yeah.
0:28:05 > 0:28:09I found it in the local library when I was going through local history.
0:28:09 > 0:28:12I like looking at local history and I came across that.
0:28:12 > 0:28:14I thought, "Blimey, I've got one!"
0:28:14 > 0:28:17I said to the lady in the library, "I've got one of them at home."
0:28:17 > 0:28:20Did your mum and dad work there at the same time as he did?
0:28:20 > 0:28:24Yes, they probably did. They were there straight from school.
0:28:24 > 0:28:26They may even have been friends with him.
0:28:26 > 0:28:28Well, I don't know, but I know...
0:28:28 > 0:28:30Well, he lived near me so they might have been. I don't know.
0:28:32 > 0:28:34Now, price-wise...
0:28:35 > 0:28:41- ..I would like to pitch it somewhere between £100 and £150.- Yes.
0:28:41 > 0:28:45- Would you be happy to let it go at that?- Yes, yes.- Shall we go for it?
0:28:45 > 0:28:49- Shall I put a reserve on it? - Yeah, you can do.
0:28:49 > 0:28:52- Say £100 with discretion?- Yeah. - Yeah.
0:28:52 > 0:28:54Well, I'm looking forwards
0:28:54 > 0:28:57and I'm so pleased that I had a Manchester item.
0:28:57 > 0:29:01- So thank you for bringing it along to Flog It!- You're welcome.
0:29:01 > 0:29:05That's one of the great things about Flog It! - travelling around
0:29:05 > 0:29:09the country, we get to celebrate the local history that's been lost.
0:29:09 > 0:29:12And it comes in all shapes and sizes.
0:29:12 > 0:29:17Joe, I absolutely love this. A bit of Northern school art.
0:29:17 > 0:29:20That's what it's all about. This is why we are here in Manchester.
0:29:20 > 0:29:23Trevor Grimshaw. And that's a Trevor Grimshaw print as well.
0:29:23 > 0:29:27But this is in a original pencil sketch. How did you come by these?
0:29:27 > 0:29:33They belonged to a friend of my sister's, who lives in Morecambe.
0:29:33 > 0:29:37And all I know about it is he bought it from a car-boot sale
0:29:37 > 0:29:4312 years ago and it's been in a wrapper in the attic ever since then.
0:29:43 > 0:29:46- And it's not even been mounted or framed!- No.
0:29:46 > 0:29:49I just caught the light here and I can see scratched in there
0:29:49 > 0:29:52- "Trevor Grimshaw". Yeah.- Look at that urban landscape.
0:29:52 > 0:29:55That industrial landscape. Look at it!
0:29:55 > 0:29:59With those poles and those puddles of water. That sort of turgid look.
0:29:59 > 0:30:02- You know, that's what it was all about, wasn't it?- Yes!
0:30:02 > 0:30:06In the smog in the winter months.
0:30:06 > 0:30:10Trevor Grimshaw really only worked in black and white -
0:30:10 > 0:30:11monochromatic, we call it.
0:30:11 > 0:30:14Working in charcoal or just graphite, in pencil.
0:30:14 > 0:30:18Known for his northern landscapes. He's up there with Lowry.
0:30:18 > 0:30:19You know that, don't you?
0:30:19 > 0:30:21Well, that's great. That's brilliant.
0:30:21 > 0:30:26- Unfortunately, not as much money as Lowry.- That's a pity.- It is for you!
0:30:26 > 0:30:30- We're not talking hundreds of thousands here.- No.
0:30:30 > 0:30:32You're looking at sort of large industrial landscapes -
0:30:32 > 0:30:35maybe £800-£1,200. He is sought after.
0:30:35 > 0:30:41He's very, very sought after. He died in 2001. He was born in 1947.
0:30:41 > 0:30:45And sadly, he became a bit of a recluse
0:30:45 > 0:30:48- and he died in a house fire at the age of 54.- Right!
0:30:48 > 0:30:51- So he had a short life.- Hm.
0:30:51 > 0:30:54But I'll tell you something - I think something like this,
0:30:54 > 0:30:58a little study, quite easily £200-£300.
0:30:58 > 0:31:01- Oh, good!- And we could double that.
0:31:01 > 0:31:06- That's good.- OK? The print, signed Trevor Grimshaw there.
0:31:06 > 0:31:10It's been beautifully mounted. It just needs a new piece of glass.
0:31:10 > 0:31:13And it's a limited edition, one of eight.
0:31:13 > 0:31:17Same kind of thing - northern industrial landscape.
0:31:17 > 0:31:21Moonlit again, dusk. I think you could ask £80 to £120 for that.
0:31:21 > 0:31:23That's fine.
0:31:23 > 0:31:24I'm excited about this.
0:31:24 > 0:31:27And I think we should split the lots, because that's a good
0:31:27 > 0:31:30entry-level for somebody who wants to collect Trevor Grimshaw.
0:31:30 > 0:31:33This, the serious collectors will fight over it.
0:31:33 > 0:31:37- Are you happy with that?- Yes, very, yeah.- I think it's beautiful.
0:31:37 > 0:31:39I think it's absolutely beautiful.
0:31:39 > 0:31:43That has made my trip to the industrial north, do you know that?
0:31:43 > 0:31:46Thank you so much for bringing that here. Thank you.
0:31:46 > 0:31:48Well, we really are getting a sense
0:31:48 > 0:31:50of Manchester's cultural history here today.
0:31:50 > 0:31:54But Anita is casting her net a little bit further afield.
0:31:54 > 0:31:59Amanda, welcome to Flog It! This is a wonderful, wonderful venue.
0:31:59 > 0:32:03And you've brought me this exquisite little box.
0:32:03 > 0:32:05- Yes, lovely.- Where did you get it?
0:32:05 > 0:32:09Um, it was given to me by my great-uncle and my great-aunt,
0:32:09 > 0:32:12and I think I was probably about 12.
0:32:12 > 0:32:15And all I remember is saying, "Oh, I like that box,"
0:32:15 > 0:32:19probably thinking they might give it to me. And they did!
0:32:19 > 0:32:21And so I've had it quite a number of years now.
0:32:21 > 0:32:25What I like about this little box is the colour!
0:32:25 > 0:32:31- Yeah.- The colour is absolutely mouthwatering.
0:32:31 > 0:32:36This wonderful blue, this marvellous deep, zinging blue.
0:32:36 > 0:32:39- Yeah.- But let's look at the whole thing. What is it?
0:32:39 > 0:32:44- Where did it come from? It's Japanese.- Oh, wow.
0:32:44 > 0:32:48It would be made probably at the turn of the century.
0:32:48 > 0:32:53And it would have been made for the export market.
0:32:53 > 0:32:58Cloisonne is a process where little strings of wire
0:32:58 > 0:33:03are applied onto a base, and in this case it's a copper base,
0:33:03 > 0:33:07and then it's filled with different colours of glaze.
0:33:07 > 0:33:11And what we have here, formed by this process,
0:33:11 > 0:33:15- are these wonderful, I think these are irises.- Yes, I think so.
0:33:15 > 0:33:18Wonderful irises on the lid.
0:33:18 > 0:33:23And on the side panels we've got these wonderful delicate
0:33:23 > 0:33:27- fluttering butterflies. - Yeah, they're really pretty.
0:33:27 > 0:33:32- So it's very appealing.- Yes. - It would have been a cigarette box.
0:33:32 > 0:33:33Uh-huh.
0:33:33 > 0:33:37Now, we know that cigarette items are not popular in today's market,
0:33:37 > 0:33:41but this is a little box that could be used today for cards.
0:33:41 > 0:33:43Oh, yes!
0:33:43 > 0:33:47So I'm not worrying too much about its former purpose.
0:33:47 > 0:33:53- It's in relatively good condition. - Good.- Why are you selling it?
0:33:53 > 0:33:55Um, well, I don't use it now.
0:33:55 > 0:34:00I did use it for a long time and I loved it being out on display,
0:34:00 > 0:34:03and for some reason, I'm not sure why, it got put away in a cupboard.
0:34:03 > 0:34:09And in the next 12 months both of my children are getting married,
0:34:09 > 0:34:13- which obviously... - Is expensive!- It is very expensive.
0:34:13 > 0:34:16And one of them is getting married in Slovakia and one of them
0:34:16 > 0:34:19is getting married in Australia. So there's a lot of expense.
0:34:19 > 0:34:21So every bit will help.
0:34:21 > 0:34:25That's right. So rummage around and find what you don't really want.
0:34:25 > 0:34:26Absolutely. Yes.
0:34:28 > 0:34:31Estimate on it...is not high.
0:34:31 > 0:34:35- If we put it in at £50-£70, would you be happy...- Oh, yes.
0:34:35 > 0:34:38- ..to part with it at that? - Oh, yes, I would.
0:34:38 > 0:34:40We'll put a reserve of maybe £40.
0:34:40 > 0:34:43Yes, I'd like to have some reserve on it.
0:34:43 > 0:34:45- I'm sure it will do much better than that.- Good.
0:34:45 > 0:34:48- Thank you for bringing it along. - Thank you very much.
0:34:51 > 0:34:54Well, I have to say everyone has thoroughly enjoyed themselves
0:34:54 > 0:34:56here at the Museum of Science and Industry.
0:34:56 > 0:34:58We've found some real gems.
0:34:58 > 0:35:01Sadly, it's time to say goodbye as we head over to the auction room
0:35:01 > 0:35:04in Knutsford and put those last set of valuations to the test.
0:35:04 > 0:35:06And here's what's coming with us.
0:35:06 > 0:35:08Derek's plaque is a poignant reminder
0:35:08 > 0:35:12of a great Manchester factory and the people who worked there.
0:35:14 > 0:35:17This stunning cloisonne piece is sure to attract attention,
0:35:17 > 0:35:20but will anyone have a FLUTTER on the butterfly box?
0:35:22 > 0:35:24And I fell in love with this simple pencil drawing
0:35:24 > 0:35:27and I'm sure the bidders will, too.
0:35:27 > 0:35:30And the beautiful print would be a great investment for anyone
0:35:30 > 0:35:32interested in Northern Art.
0:35:34 > 0:35:36Back at the auction house,
0:35:36 > 0:35:39I couldn't wait to show Nick the stunning pencil sketch.
0:35:39 > 0:35:42Nick, my favourite item of the whole valuation day,
0:35:42 > 0:35:44my favourite lot in the sale.
0:35:44 > 0:35:46- I'm not surprised. - My little Trevor Grimshaw.
0:35:46 > 0:35:49- You were the expert? It's on your shoulders.- It's on my shoulders.
0:35:49 > 0:35:52It belongs to a guy called Joe, not for much longer.
0:35:52 > 0:35:55It's a great little study. Very much that Lowry school of art.
0:35:55 > 0:35:59That's what I said. For me that's as good as Lowry.
0:35:59 > 0:36:02Lowry I think went to one of his first exhibitions
0:36:02 > 0:36:06and bought three works on spec, so even the greats admired his work.
0:36:06 > 0:36:08So we are in good company.
0:36:08 > 0:36:11Yeah, I did say to Joe, "Let's put it in at 200 to 300."
0:36:11 > 0:36:14I could see this doing 400 and little bit more.
0:36:14 > 0:36:17I think you're right. 200 to 300 sounds sensible, realistic.
0:36:17 > 0:36:21If anything, conservative. I hope it makes 300 or 400. It should do.
0:36:21 > 0:36:24So do I. Fingers crossed.
0:36:24 > 0:36:26Anyway, I can't wait for the hammer to go down on this
0:36:26 > 0:36:29and see Joe's face.
0:36:29 > 0:36:30- Good luck.- Thank you.
0:36:31 > 0:36:35But I've got to be patient because there are two lots up first.
0:36:36 > 0:36:40Going under the hammer, we've got a Pilkington circular convex dish
0:36:40 > 0:36:42commemorating the coronation of King George.
0:36:42 > 0:36:45And it belongs to Derek. Not for much longer.
0:36:45 > 0:36:47There's a lot of local interest here.
0:36:47 > 0:36:51- Why are you selling this, Derek? - Well, it's not doing anything.
0:36:51 > 0:36:54It's just in the airing cupboard on the bottom shelf.
0:36:54 > 0:36:57We've got one of the best decorators
0:36:57 > 0:37:01and we've got an iconic piece here, so I'm hoping that it will do well.
0:37:01 > 0:37:05Fingers crossed. We're going to find out what the bidders think. It's all down to them.
0:37:05 > 0:37:08You've heard our experts, let's find out what this lot think.
0:37:08 > 0:37:13The Pilkington Royal Lancastrian circular convex wall plaque.
0:37:13 > 0:37:17Where are you going to be for this one? £100 and away. 100?
0:37:17 > 0:37:21- 50.- 50? That's a slow start.
0:37:21 > 0:37:2350 I've got. And five. 60.
0:37:23 > 0:37:25Five. 70.
0:37:25 > 0:37:27Five. 80.
0:37:27 > 0:37:29Five. 90.
0:37:29 > 0:37:32- It's creeping up.- £90 I have.
0:37:32 > 0:37:34On my right at 90. And five.
0:37:34 > 0:37:37Shakes his head. 95 is in the room, not online.
0:37:37 > 0:37:41Somebody's trying to bid online. At 95. 100.
0:37:41 > 0:37:45And ten, if you like. You're out online.
0:37:45 > 0:37:47The bid is in the room. At 110 are we all done?
0:37:47 > 0:37:50- 120 online. Any advance. - 120.- All done?
0:37:50 > 0:37:53- At £120.- Hammer has gone down.
0:37:53 > 0:37:56- It's sold at 120. That's a good result.- Good, good, good.
0:37:56 > 0:37:59A really good result. Happy with that, Derek?
0:37:59 > 0:38:00Yes, I'm happy with that.
0:38:01 > 0:38:04Next up, another delightfully decorative design.
0:38:04 > 0:38:07Right now we need to raise a fair bit of money.
0:38:07 > 0:38:09I've just been joined by Amanda
0:38:09 > 0:38:12and we are selling that wonderful little tiny cloisonne box.
0:38:12 > 0:38:15Hopefully we'll get the top end, because I think this is quality.
0:38:15 > 0:38:19It's a lovely wee box. The colours are wonderful and the decoration.
0:38:19 > 0:38:22- It's just so sweet. - Good luck with that.- Thank you.
0:38:22 > 0:38:24It under the hammer now.
0:38:24 > 0:38:29Early 20th century, good Japanese cloisonne double-ended box.
0:38:29 > 0:38:32Nice lot, this, and I can start the bidding at 40.
0:38:32 > 0:38:35£40 I have. Any advance on 40?
0:38:35 > 0:38:3845, 50. 55. 60.
0:38:38 > 0:38:41Commission bid of 60. Out online.
0:38:41 > 0:38:4265, internet better.
0:38:42 > 0:38:44Commissions are out. 65 is online.
0:38:44 > 0:38:47Any advance now? 70 in the room.
0:38:47 > 0:38:49- Getting higher.- 80 quickly now.
0:38:49 > 0:38:51At 75.
0:38:51 > 0:38:5680. £80 I'm bid in the room. Both out online. At £80.
0:38:56 > 0:38:58The bid is on my left in the room. 85.
0:38:58 > 0:39:00Shakes his head now.
0:39:00 > 0:39:0185 is an internet bidder.
0:39:01 > 0:39:05We all done? Quite sure? At 85.
0:39:05 > 0:39:07The hammer's gone down. £85.
0:39:07 > 0:39:10- Spot-on.- It was the right price for it.- Yeah.
0:39:10 > 0:39:12- Are you happy? - I am very happy.- Good.
0:39:12 > 0:39:16- Every penny helps towards that wedding.- Yes.- Look, enjoy them both.
0:39:16 > 0:39:18Thank you very much.
0:39:18 > 0:39:22And now for the Trevor Grimshaw, bought at a car-boot sale
0:39:22 > 0:39:24and left redundant in the loft.
0:39:24 > 0:39:26Let's see how much they make.
0:39:26 > 0:39:30Joe, when I saw those two little works by Trevor Grimshaw,
0:39:30 > 0:39:34I said we were in the right place at the right time.
0:39:34 > 0:39:36I had a chat to Nick, the auctioneer,
0:39:36 > 0:39:39- at the preview day yesterday. He absolutely loves them.- Oh, right!
0:39:39 > 0:39:42Agrees with the valuation. So we've got two lots.
0:39:42 > 0:39:44The first one is the pencil,
0:39:44 > 0:39:48the heavy soft pencil sketch with that wonderful telegraph pole
0:39:48 > 0:39:50and that industrial landscape showing reflections.
0:39:50 > 0:39:52We've got £200-£300 on that
0:39:52 > 0:39:54and we've got the signed limited-edition print
0:39:54 > 0:39:57which follows, at £80 to £120.
0:39:57 > 0:39:59Right, OK. It's packed in here.
0:39:59 > 0:40:02- Hopefully someone wants some Northern Art.- Yes.
0:40:02 > 0:40:04- Shall we find out what it's worth? - Definitely.- Come on.
0:40:04 > 0:40:06It's going under the hammer.
0:40:06 > 0:40:10The Trevor Grimshaw - nice little charcoal and graphite.
0:40:10 > 0:40:13Signed and dated. Great little artist, Trevor Grimshaw.
0:40:13 > 0:40:16Good northern artist. Start me at 200 for this?
0:40:16 > 0:40:19Start me at 200. 100. 110.
0:40:19 > 0:40:21120. 130, you're in.
0:40:21 > 0:40:24140. 150. 60. 170.
0:40:24 > 0:40:28- 180.- This is good.- 190. 200.
0:40:28 > 0:40:30At 200 here.
0:40:30 > 0:40:35- 210. He's back. 220.- He's keen at the back.- 230. 240. 250.
0:40:35 > 0:40:38- 255.- 255. 260.
0:40:38 > 0:40:40At 260, gent in the doorway. At 260.
0:40:40 > 0:40:42270, fresh bidder.
0:40:42 > 0:40:44280. 280 I'm bid.
0:40:44 > 0:40:46290.
0:40:46 > 0:40:50300. I'm bid at 300. 320. 340.
0:40:50 > 0:40:52340 now. 360.
0:40:52 > 0:40:54380.
0:40:54 > 0:40:58- I said around 400, didn't I? - Any advance on 380? 400.
0:40:58 > 0:41:03£400 on the phone has it. At £400. Try another. It's a nice one.
0:41:03 > 0:41:04420 online.
0:41:04 > 0:41:06At 420. We're not there yet.
0:41:06 > 0:41:09Oh, this is great. This is what auctions are all about.
0:41:09 > 0:41:10It's against you online.
0:41:10 > 0:41:13460. They're back in at 460. 480.
0:41:13 > 0:41:15I'm bid at 480. Try one more.
0:41:15 > 0:41:16Thank you. 500.
0:41:16 > 0:41:18520.
0:41:18 > 0:41:21- It is that good.- At 520.
0:41:21 > 0:41:26At £520, phone bidder has it. It's against you online.
0:41:26 > 0:41:30It's against the room. On the phone at 520. He's back in at 540.
0:41:30 > 0:41:35560. 560 I have now. Phone bidder again at 560.
0:41:35 > 0:41:36At £560, the phone has it.
0:41:36 > 0:41:40It's against you online, against the room. 560 I'm selling.
0:41:40 > 0:41:44All done, last chance. I'm selling away...
0:41:44 > 0:41:48- 560! How about that?- Brilliant! - Good first time at an auction.
0:41:48 > 0:41:50- Absolutely.- I've got butterflies. I'm tingling!
0:41:50 > 0:41:52That's the effect you get at an auction.
0:41:52 > 0:41:54If you haven't experienced it, get down to your local saleroom.
0:41:54 > 0:41:56Right, it's the print next.
0:41:56 > 0:41:59Limited edition but it's still going to be sought after
0:41:59 > 0:42:02because it's personally signed, approved by Trevor Grimshaw.
0:42:02 > 0:42:06So that's a good thing. OK, that's coming up now.
0:42:06 > 0:42:08Another Trevor Grimshaw.
0:42:08 > 0:42:11Pencil, signed, limited edition print, number one of eight.
0:42:11 > 0:42:15Where are we going to go? £80 for it? 80? 60?
0:42:15 > 0:42:1750? Come on, who's in at £50?
0:42:17 > 0:42:22- Thank you. 50 I'm bid.- The chap bidding on the other one.- 60.
0:42:22 > 0:42:24The bid's in the back of the room at £60. Any advance?
0:42:24 > 0:42:27Five online. 70.
0:42:27 > 0:42:31Five online. Five against you. Don't lose it now. He's in again at 80.
0:42:31 > 0:42:34Five here. 90. At £90.
0:42:34 > 0:42:3795. Keep going, don't stop now.
0:42:37 > 0:42:40- It's going well.- Yeah, it'll meet the estimate.- 110 now.
0:42:40 > 0:42:42110 I'm bid. At 110.
0:42:42 > 0:42:43120.
0:42:43 > 0:42:46At £120. Against you online. 130. They're in.
0:42:46 > 0:42:49Try another in the back. You came all this way.
0:42:49 > 0:42:52140, fresh bidder. At 140, the phone now.
0:42:52 > 0:42:57At 140. It's against you all, then. On the telephone, at £140.
0:42:57 > 0:43:02The phone has it. Last chance. Selling away at £140...
0:43:02 > 0:43:05£140! Combined total of £700.
0:43:05 > 0:43:07- Wow, what a result. - That's fantastic.
0:43:07 > 0:43:10- Unbelievable.- I told you it would do well, didn't I?
0:43:10 > 0:43:12That's the power of Northern Art for you.
0:43:12 > 0:43:15- That's what it's all about. - Absolutely great.
0:43:15 > 0:43:18And your first auction as well. Speechless! Lost for words!
0:43:18 > 0:43:20I told you there'd be a big surprise, didn't I?
0:43:20 > 0:43:23Thanks for bringing that in. Thank you for watching.
0:43:23 > 0:43:25I hope you enjoyed the show.
0:43:25 > 0:43:27Sadly we're out of time here in Knutsford, but what a way to end!
0:43:27 > 0:43:29See you next time.